The article focuses on the philosophical and scientific dialogue between Vladimir Vernadsky and Pavel Florensky in the context of Russian philosophy. Florensky formulated his philosophy in the book The Pillar and Ground of the Truth, making a great impact on Vernadsky. The two philosophers exchanged their thoughts through letters. During the time of his imprisonment, Florensky wrote letters on scientific topics to his son Kirill, who worked with Vernadsky. Thus, Kirill Florensky became the point of contact (...) between the two thinkers. The present article aims to show the complementarity between Vernadsky’s and Florensky’s work with a particular emphasis on their conception of noosphere-pneumatosphere connected with Plato’s methaphysics, which Florensky interpreted as the world of the Truth or absolute reality. Through investigating Vernadsky’s and Florensky’s letters and diaries and comparing their conceptions of noosphere and pneumatosphere, as well as their interpretation of reality in their writings, it is possible to determine influences of the concepts important for Russian religious philosophers, such as a tendency towards wholeness and intuition. The first part of the article examines Vernadsky in relation to Russian idealists, the second part of the article is focused on the relationship between Vernadsky and Florensky, and the third on the concepts of noosphere, pneumatosphere, and the concept of reality (living being) — absolute reality (Truth). Through these three steps, the complementarity of Vernadsky’s and Florensky’s interpretations are illustrated. Their interpretations are not contradictory because while Vernadsky dealt with Earth’s reality and its evolution, and Florensky focused on the metaphysical world, both were interested in the evolution of the biosphere-noosphere/pneumatosphere through the activity of man. The article is the first study in English focused on the scientific and religious-philosophical interaction between Vernadsky and Florensky. (shrink)

In the field of phenomenology philosophers more and more frequently show interest in early Christian thought – including apophatic theology – which, in result, affects the understanding of the role and significance of art. „Invisibility” in art and the manifestation of God through the work of art is a mystery which cannot be satisfactorily explained by traditional philosophical aesthetic models. Negative theology, together with its key apophatic way brings a new perspective of understanding art into contemporary aesthetic debates. Its 'reductive' (...) application can be found especially in the theory of the icon. Paweł Florenski's icon analysis and Jean-Luc Marion's category of the ‘saturated phenomenon’ converge in many points. Henry Dume ry’s henological reduction which is complementary to, but at the same time exceeds Edmunda Husserl's reductions, extends the horizon of the 'invisible' dimension of art by the relation the Spirit (intelligibility) makes with Transcendence. In the article I will show the cohesion of contemporary phenomenological thought, early Christian apophatics and the theory of the icon. I will also consider whether an aesthetic and theological framework so structured could be valid and useful as a general philosophical theory of art. (shrink)

"The Third Being" presents texts by A.V. Bronnikov, written from 2011–2019 and is devoted to issues regarding the philosophy of art, creativity and language. If the first being is the being of the eternal and divine and the second being is that of the temporary and human, then the new, third, being appears as the intersection and continuation of the first two. The third being is seen and anticipated in art—in the timeless and indestructible reality created by man, in the (...) reality of a poetic word that raises the world and its things to the level of form, image and idea. The book compares approaches to the philosophy of art and the theory of language by H.-G. Gadamer, M. Heidegger, G. Frege, R. Ingarden, R. Bart, L. Wittgenstein and J. Derrida. An important place is given to Russian religious philosophy, presented by P. A. Florensky, S. N. Bulgakov, N. A. Berdyaev and others. The publication contains essays on the life and work of poets R. M. Rilke, E. Pound and T. S. Eliot, as well as the first Russian translation of J. Derrida's “Advances,” known as the postmodern commentary on Plato's “Timaeus.” -/- Contents: Russia in Rilke / Plato's ideality of text / Word and world / Art as reality / Sacrality of art / Cosmists / Florensky space / Serial music of "Four Quartets" / Philosophy of "The Cantos" / Ezra Pound and his "Cantos" / Poetry: a breakthrough to reality / At the origin of the world / J. Derrida's "Advances". (shrink)

For long time, especially in the West, there is old paradigm that is strong separation between science and theology/religion matters. Especially, such a diverging path started from Galileo persecution, and also other patterns where religious authority seem to hold the last word on scientific issues. Other area of this World, seems to not hold such a diverging path, for instance it can be read in the works of physicist turned to religious philosopher, for instance Pavel Florensky and Nesteruk. That (...) is why we also discuss shortly about those scientists in this book. In the last chapter, we discuss about eureka, an experience which for a long time was attributed to divine spark or “God’s favor to an artist or to a scientist, such luminaries like Newton, Pascal, Leibniz etc.” Nonetheless, new methodology appears to be able to be generated once we accept balanced brain approach, where left brain and right brain hemispheres of humans can work together. (shrink)

This paper attempts to acquaint Polish readers with the Russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of space‑ness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of (...) being for the artwork itself. Painting and printmaking, among other arts types mentioned by Florensky (poetry, music, theatre, and architecture), have their own particularities in their organization of space. Painting and printmaking are, for Florensky, the truest art forms — art par excellence. The presentation of a threefold interpretation of the category of space‑ness, together with the description and justification of the divisions which are made in art based on these spatial categories by the philosopher is the leitmotiv of this paper. The aim of the paper is to present and discuss the opinions and arguments of the Orthodox thinker from his work Анализ пространственности (и времени) в художественно‑изобразительных произведениях, which has not yet been translated into Polish or English. (shrink)

A condensed summary of the adventures of ideas (1990-2020). Methodology of evolutionary-phenomenological constitution of Consciousness. Vector (BeVector) of Consciousness. Consciousness is a qualitative vector quantity. Vector of Consciousness as a synthesizing category, eidos-prototecton, intentional meta-observer. The development of the ideas of Pierre Teilhard de Chardin, Brentano, Husserl, Bergson, Florensky, Losev, Mamardashvili, Nalimov. Dialectic of Eidos and Logos. "Curve line" of the Consciousness Vector from space and time. The lower and upper sides of the "abyss of being". The existential tension (...) of being. Five reference “points” (existential-extremum) - world events in the evolution of Consciousness from “homo habilis” to “homo sapiens sapiens”. “Prometheus Effect". Inversion and reversion of Сonsciousness. "Open" and "closed" Сonsciousness. Consciousness and Self-Consciousness. Protogeometer: fall in the future, in the "EgoLand". The problem of justification/substantiation of mathematics (knowledge) is an ontological problem. The crisis of ontology and ontological limits of cognition. Ontological structure of space. The project of constructive dialectic ontology. The methodology of dialectical-ontological construction (modeling): conceptual-figure synthesis, total unification of matter, coincidence of ontological opposites, primordial Meta-Axioma and Superprinciple, vector (bivector) of the absolute state (states) of matter (absolute forms of existence). The ontological "celestial triangle" (Plato). Ontological invariants of the Universum and their ontological paths. Ontological and gnoseological dimensions of space. Triune (ontological) space of nine gnoseological dimensions: absolute rest (linear state, "Continuum")+ absolute motion (absolute vortex, "Discretuum") + absolute becoming (absolute wave, "Dis-Continuum"). Primordial generating structure: ontological framework, ontological carcass and ontological foundation. Ontological (structural, cosmic) memory - the semantic core of the conceptual construction of the Universum being as an eternal process of generation of new meanings and structures. Consciousness is an absolute (unconditional) attractor of meanings, a univalent phenomenon of ontological memory, which manifests itself at a certain level of the Universum being. Ontological space-MatterMemory-Ontological time (S-MM-T). Ontological Rhythm and Cycle. The nature and structure of ontological time. Natural (absolute) determinism. (shrink)